How is the cadence known when the progression involves IV resolving to I?

How is the cadence known when the progression involves IV resolving to I?

• A. Authentic Cadence
• B. Plagal Cadence
• C. Half Cadence
• D. Deceptive Cadence

Answer: (B)

The cadence that involves the progression from the IV chord resolving to the I chord is referred to as a plagal cadence, commonly recognized by its “Amen” sound often used in hymns. In this context, the IV chord serves as a subdominant, and its resolution to the tonic (I) establishes a sense of conclusion. This type of cadence contrasts with an authentic cadence, which typically involves a V chord resolving to the I chord and creates a stronger sense of finality. The half cadence, on the other hand, ends on a V chord and leaves an unresolved feeling, prompting the listener to expect further movement. The deceptive cadence, which often involves V moving to a vi chord instead of resolving to I, also creates a surprising turn in harmony. Overall, the plagal cadence is distinguished by its characteristic IV to I motion, adding a unique richness and warmth to the harmonic resolution, particularly in a tonal context where the IV chord is used effectively to lead into the tonic.

The cadence that involves the progression from the IV chord resolving to the I chord is referred to as a plagal cadence, commonly recognized by its “Amen” sound often used in hymns. In this context, the IV chord serves as a subdominant, and its resolution to the tonic (I) establishes a sense of conclusion.

This type of cadence contrasts with an authentic cadence, which typically involves a V chord resolving to the I chord and creates a stronger sense of finality. The half cadence, on the other hand, ends on a V chord and leaves an unresolved feeling, prompting the listener to expect further movement. The deceptive cadence, which often involves V moving to a vi chord instead of resolving to I, also creates a surprising turn in harmony.

Overall, the plagal cadence is distinguished by its characteristic IV to I motion, adding a unique richness and warmth to the harmonic resolution, particularly in a tonal context where the IV chord is used effectively to lead into the tonic.